Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Korea North and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1978.
I'm losing my edge.
To all the kids in Spokane and Philadelphia.
I'm losing my edge to the art-school Manila kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing John Holt to the electroclash kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Funkadelic. All the underground hits.
All Gang Green tracks. I heard you have a vinyl of every The Standells record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a theremin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Marshall Jefferson,
Y Pants,
Liaisons Dangereuses,
Ultramagnetic MC's,
Traffic Nightmare,
Kaleidoscope,
Absolute Body Control,
Aaron Thompson,
B.T. Express,
Justin Hinds & The Dominoes,
Blake Baxter,
Bob Dylan,
Sister Nancy,
Todd Terry,
The Men They Couldn't Hang,
Grandmaster Flash and the Furious Five,
Con Funk Shun,
Supertramp,
Circle Jerks,
Boredoms,
Roger Hodgson,
Camron Feat. Memphis Bleek And Beenie Seigel,
Slick Rick,
Richard Hell and the Voidoids,
Bluetip,
The Jesus and Mary Chain,
The Mojo Men,
The Sound,
Man Parrish,
Mantronix,
Yaz,
Gary Puckett & The Union Gap,
Marine Girls,
The Skatalites,
Sly & The Family Stone,
Rhythm & Sound,
Interpol,
Eurythmics,
Angry Samoans,
Symarip,
Ken Boothe,
Buzzcocks,
The Invisible,
Josef K,
Agent Orange,
The Young Rascals,
Cal Tjader,
Newcleus,
A Flock of Seagulls,
Marcia Griffiths,
X-102,
Freddie Wadling,
Letta Mbulu,
Soul Sonic Force,
Rhythim Is Rhythim,
The Five Americans,
Fad Gadget,
the Normal,
Grey Daturas,
Essential Logic,
Jesper Dahlback,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.